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Journal Article
New German Critique (2012) 39 (2 (116)): 119–132.
Published: 01 August 2012
... conflicts that finally erupt in the revolution of 1989, the article foregrounds three modes of cultural representation that produce three versions of cultural history. The first, symbolic mode epitomizes the protagonists' conventional understanding of culture as an archive of knowledge and learning...
Journal Article
New German Critique (2009) 36 (1 (106)): 1–19.
Published: 01 February 2009
...: by making his protagonist a matricide, does Littell weaken his effectiveness as a historical witness? Susan Rubin Suleiman 2009 When the Perpetrator Becomes a Reliable Witness of the Holocaust: On Jonathan Littell’s Les bienveillantes Susan Rubin Suleiman...
Journal Article
New German Critique (2010) 37 (1 (109)): 75–98.
Published: 01 February 2010
...Marco Abel The contemporary German filmmaker Oskar Roehler can be considered a “postromance” director whose films obsessively present so-called single-generation protagonists who often blame their inability to maintain successful relationships on their generational predecessors, the 68ers. When...
Journal Article
New German Critique (2012) 39 (1 (115)): 3–26.
Published: 01 February 2012
... a book with profound linguistic concerns. A speaker of five languages—English, French, Welsh, Czech, German—the protagonist has the facility of the ideal twentieth-century cosmopolitan. At the same time, however, he is utterly immobilized by recurring episodes of radical aphasia. Dubow and Steadman-Jones...
Journal Article
New German Critique (2012) 39 (2 (116)): 47–62.
Published: 01 August 2012
... to an unpredictable future, seems to have been the Wall itself rather than its demolition. From Özdamar's protagonist's charmed crossings of the Wall in the 1970s to Şenocak's view of Berlin as a permanent building site in the 1990s, Littler examines how their writings cut across the old political structure of East...
Journal Article
New German Critique (2014) 41 (3 (123)): 179–197.
Published: 01 November 2014
... for the analysis of three films and informs the investigation of the wider cultural and historical contexts of the return. Two of the films bring their protagonists to Germany to face the descendants of the perpetrators. The encounter with Germany and German characters initiates an emotional process that may...
Journal Article
New German Critique (2015) 42 (2 (125)): 97–113.
Published: 01 August 2015
... sensibilities of a set of protagonists who no longer care whether they are in step with their time. In The Moment of Love ( Der Augenblick der Liebe , 2004), Final Flowering ( Angstblüte , 2006), and A Man in Love ( Ein liebender Mann , 2008), in particular, Walser presents characters who are politically...
Journal Article
New German Critique (2021) 48 (1 (142)): 103–123.
Published: 01 February 2021
... the conceptions of life that come into play in the novel (life as career, life as theater, life as gesture) and considers the fate of the protagonist in this light. Seeing the question of inclusion/exclusion as key to Kafka’s novel, the article argues that it exposes the thin line between utopia and dystopia...
Journal Article
New German Critique (2023) 50 (2 (149)): 9–35.
Published: 01 August 2023
... as a differential of protagonists’ possible forms of agency and autonomy in a world defined by passivity and heteronomy. The political subtext of Lukács’s early theory of the tragic pursues a double agenda of historical symptomatics (defining tragedy as the genre of a class achieving consciousness of its own...
Journal Article
New German Critique (2011) 38 (1 (112)): 39–63.
Published: 01 February 2011
... of the Nazi past. The complex formal strategies and visceral affective tone of the narra- tive, which underscore the protagonist’s fractured nature, confront and chal- lenge us as readers of this post-Holocaust text. Anne Duden’s Judas Sheep (Judasschaf, 1985) exhibits an unsettling and radical...
Journal Article
New German Critique (2008) 35 (2 (104)): 139–169.
Published: 01 August 2008
... walker–archaeologist trope, Nooteboom’s protagonist asserts that the site is “a realm of the dead and of the disappeared.”12 The refusal to acknowl- edge through representation prolongs the continued absence of the dead and forgotten. The Potsdamer Platz was—and still is—the key exemplifi cation...
Journal Article
New German Critique (2015) 42 (3 (126)): 115–143.
Published: 01 November 2015
... portrays the “authentic” Heimat as a mere fantasy of urban culture. The fascination of the careless protagonist with the Heimat is apparently not based on any famil- iarity with the actual landscape and its traditional inhabitants. Already on his way from his apartment to the mountains, Meyer stands...
Journal Article
New German Critique (2021) 48 (3 (144)): 65–98.
Published: 01 November 2021
... by the novel’s protagonist, Frank Frink, a Jewish artist in hiding. In this alternate-universe novel, the Axis powers won World War II. In the 1960s equating someone with a cannibal was intended as an extreme denunciation; it did not evoke the Hannibal Lecter portrayed by movie heartthrob Mads Mikkelsen. Nor...
Journal Article
New German Critique (2009) 36 (2 (107)): 207–230.
Published: 01 August 2009
..., terror, and narrative, but it is in response to Richter’s paintings that gender comes to play a larger role. In the story, DeLillo roots Richter’s aesthetic polit- ical structure in the power differential that emerges through the responses of his male and female protagonists to Richter’s images...
Journal Article
New German Critique (2011) 38 (2 (113)): 1–23.
Published: 01 August 2011
... is whether Wallenstein, commander in chief of the Austrian emperor’s army, will betray the emperor and side with the Swedes, thus perhaps ending the brutal war in Sweden’s favor. At the play’s conclusion, its eponymous protagonist’s death ensures that the war rages on for another fourteen years...
Journal Article
New German Critique (2013) 40 (2 (119)): 167–184.
Published: 01 August 2013
... a portrait—but not really a protagonist, unless one were to counterpose history itself, in its dense layering of connotation, as his antagonist. Müller argued that in the context of the GDR there could be no protagonists—a sharp departure from Brechtian dramaturgy: [Brecht] never understood...
Journal Article
New German Critique (2007) 34 (3 (102)): 45–60.
Published: 01 November 2007
... to Italian neorealism of the 1940s. The locales and fi lm sets are externalizations of the protagonists’ interior worlds. Generally fi lmed using low shots and backlighting, the landscape of ruined houses refl ects the frag- mentary remains of the main male character’s identity. Hans Mertens, a sur...
Journal Article
New German Critique (2016) 43 (2 (128)): 153–176.
Published: 01 August 2016
..., and several critics have identified both similarities and differences between the protagonist of his novella, the North Frisian Hauke Haien, and Goethe’s archetypal modernizer.7 3. Holander, Theodor Storm, 21. 4. Goethe, Scientific Studies, 147. 5. Luke, “Introduction,” liv. 6. “Du bist...
Journal Article
New German Critique (2022) 49 (3 (147)): 65–91.
Published: 01 November 2022
... German Critique, Inc. 2022 political aesthetics iconography social movements in literature collective protest class struggle At the end of the first volume of The Aesthetics of Resistance , the protagonist runs into his friend Ayschmann outside the cathedral in Valencia...
Journal Article
New German Critique (2019) 46 (3 (138)): 79–101.
Published: 01 November 2019
... Europe. Primarily, though, he regards this behavior as “an intuitive alternative: not-being-needed as self-organization, the organization of one’s own time.” 7 In this way, Geene’s protagonists take a break from contemporary economic imperatives. We see Zach and Aziza neither working nor engaging...